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Poster: jmm2112 Date: Jul 16, 2008 12:29pm
Forum: GratefulDead Subject: Re: Another history question: TMNSP

What is the Betty Boards story?

James (Ala.)

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Poster: tigerbolt Date: Jul 16, 2008 1:08pm
Forum: GratefulDead Subject: Re: Another history question: TMNSP

Betty Cantor-Jackson worked for the Grateful Dead as one of their primary recordists from 1967 until 1985. Her recordings are fan favorites and have been dubbed "Betty Boards."

Betty Cantor's personal stash..........
For whatever reasons, she abandoned these tapes (and other property) in a rented storage locker back in 1986. After giving Betty repeated opportunities to catch up on back rent, or to remove her property, the owner of the storage facility legally sold the contents of the locker at an auction. The tapes were sold in batches to several people. One of these batches (62 shows worth) made its way into the hands of some deadheads, and was put into general circulation in the taper community. Bless them again!
The first great wave of Betty Boards began hitting the streets by 1987.

This is a list of all known "Betty boards" as posted on Terrapin Station BBS
in Darion CT (no longer on-line).

Betty Cantor-Jackson Soundboards

Grateful Dead
02.18.71 The Capitol Theater, Port Chester, New York
02.19.71 The Capitol Theater, Port Chester, New York
02.20.71 The Capitol Theater, Port Chester, New York
02.21.71 The Capitol Theater, Port Chester, New York
02.23.71 The Capitol Theater, Port Chester, New York
02.24.71 The Capitol Theater, Port Chester, New York
04.05.71 Manhattan Center, New York City (End Of 2nd Set Only)
04.06.71 Manhattan Center, New York City
04.07.71 Boston Music Hall, Boston, Massachusetts
04.08.71 Boston Music Hall, Boston, Massachusetts
12.14.71 The Hill Auditorium, Ann Arbor, Michigan
05.04.72 The Olympia Theater, Paris, France
08.21.72 Berkeley Community Theater, Berkeley, California
08.22.72 Berkeley Community Theater, Berkeley, California
08.25.72 Berkeley Community Theater, Berkeley, California
08.27.72 Old Renaissance Faire Ground, Veneta, Oregon
03.16.73 Nassau Coliseum, Uniondale, Long Island, New York
03.21.73 Memorial Auditorium, Utica, New York
03.22.73 Memorial Auditorium, Utica, New York
03.24.73 Spectrum Arena, Philadelphia, Pennsylvania
05.26.73 Kezar Stadium, San Francisco, California
06.22.73 Pacific High Exhibition Coliseum, Vancouver, B.C.
ca. Aug-early Sep 'WAKE OF THE FLOOD Studio Out-takes, San Rafael, CA
circa 1975 'REFLECTIONS' Studio Out-takes
06.10.76 The Boston Music Hall, Boston, Massachusetts
06.11.76 The Boston Music Hall, Boston, Massachusetts
06.14.76 The Beacon Theater, New York City
06.15.76 The Beacon Theater, New York City
06.29.76 The Auditorium Theatre, Chicago, Illinois
ca. Early 1977 Side Two Of 'TERRAPIN STATION'
02.26.77 The Swing Auditorium, San Bernadino, California
05.05.77 New Haven Coliseum, New Haven, Connecticut
05.07.77 Boston Gardens, Boston, Massachusetts
05.08.77 Barton Hall, Cornell University, Ithaca, New York
05.09.77 War Memorial Auditorium, Buffalo, New York
09.29.77 The Paramount Theater, Seattle, Washington
10.02.77 The Paramount Theater, Portland, Oregon
10.28.77 Soldiers & Sailors Memorial Hall, Kansas City, Missouri
10.29.77 Field House, Northern Illinois University, Dekalb, Illinois
10.30.77 Assembly Hall, Indiana University, Bloomington, Indiana
11.01.77 Cobo Hall, Detroit, Michigan
11.05.77 War Memorial, Rochester, New York (End Of Show)
11.06.77 Broome County Arena, Binghamton, New York
04.07.78 Hollywood Sportatorium, Hollywood, Florida
04.10.78 The Fox Theater, Atlanta, Georgia
04.11.78 The Fox Theater, Atlanta, Georgia
04.12.78 Cameroon Indoor Stadium, Duke University, Durham, North Carolina
04.14.78 Coliseum, Virginia Polytechnic, Blacksburg, Virginia
04.15.78 William And Mary College, Williamsburg, Virginia
07.07.78 Red Rocks Amphitheater, Morrison, Colorado
07.08.78 Red Rocks Amphitheater, Morrison, Colorado
10.18.78 Winterland, San Francisco, California ("From Egypt With Love")
04.22.79 Spartan Stadium, San Jose, California

Jerry Garcia Band
10.11.75 The Keystone, Berkeley, California (Second Set) (w/Nicky Hopkins
10.17.75 Concorde Pavilion, Concord, California (w/Nicky Hopkins)
12.17.75 The Keystone, Berkeley, California (w/Nicky Hopkins)
07.20.76 The Keystone, Berkeley, California
09.18.81 (Location Uncertain) (Rehearsal or Soundcheck) (The Jerry Garcia

Jerry Garcia
circa 1975 'REFLECTIONS' Studio Out-takes

Legion Of Mary
11.27.74 The Keystone, Berkeley, California
11.28.74 The Great American Music Hall, San Francisco, California
Various 1975 From 3.22, 5.22, 6.21, & 6.22.75 Keystone (except 3.22 - locatio

Reconstruction
03.07.79 Rancho Nicasio, San Rafael, California
03.08.79 Cotati Cabaret, Cotati, California
03.09.79 Cotati Cabaret, Cotati, California
04.08.79 Cotati Cabaret, Cotati, California
06.16.79 Keystone Palo Alto, Palo Alto, California
06.22.79 The Keystone, Berkeley, California
07.08.79 The Keystone, Berkeley, California

Garcia & Saunders
01.15.73 The Inn Of The Beginning, Cotati, California (w/Unidentified Fema
01.24.73 The Boarding House, San Francisco, California
07.10.73 The Keystone, Berkeley, California
07.11.73 The Keystone, Berkeley, California

Garcia, Saunders, &
06.04.74 The Lion's Share, San Anselmo, California (w/Unidentified Female
07.21.74 The Keystone, Berkeley, California (The Grateful Dead Played The
07.22.74 The Keystone, Berkeley, California
09.02.74 Marx Meadows, Golden Gate Park, San Francisco, California

Keith & Donna Band
08.20.75 The Great American Music Hall, San Francisco, California

Kingfish
10.17.75 Concorde Pavilion, Concord, California (Also See...The Jerry Garc
Date/Location Unknown

New Riders
12.02.71 The Boston Music Hall, Boston Massachusetts
12.04.71 The Felt Forum, New York City (w/Jerry Garcia ?)
12.07.71 The Felt Forum, New York City (w/Jerry Garcia ?)
12.10.71 The Fox Theater, St. Louis, Missouri (w/Jerry Garcia ?)
12.15.71 The Hill Auditorium, Ann Arbor, Michigan
05.26.72 The Strand Lyceum, London, England
03.08.73 Berkeley Community Theater, Berkeley, California
03.30.73 Community War Memorial, Rochester, New York
04.02.73 Boston Garden, Boston, Massachusetts
Date/Location Unkno(Probably 1973)

Hot Tuna
10.02.73 Winterland, San Francisco, California

Jefferson Starship
11.24.74 Winterland, San Francisco, California

Sons Of Champlin
12.03.72 Winterland, San Francisco, California


WBOTB
This is the list of Betty boards that were scheduled to be redistributed
under the What's Become of The Betty Boards moniker. The purpose was to
get them back into circulation with known lineages. They DAT masters
were to be made from the first generation PCMs, and in most cases decoding
any Dolby NR.

Grateful Dead
02.18.71 Portchester, NY, whole show, Dolby A decoded
02.19.71 Portchester, NY, whole show, Dolby A *not* decoded
02.20.71 Portchester, NY, whole show, Dolby A decoded
02.21.71 Portchester, NY, whole show, Dolby A decoded
02.23.71 Portchester, NY, whole show, Dolby A decoded
02.24.71 Portchester, NY, whole show, Dolby A decoded
04.05.71 Manhatten Center, whole show, Dolby A decoded
04.06.71 Manhatten Center, whole show, Dolby A decoded
04.07.71 Boston Music Hall, whole show, Dolby A *not* decoded
04.08.71 Boston Music Hall, whole show, Dolby A decoded
12.14.71 Ann Arbor, MI, whole show
05.04.72 Paris, Fr, 1st set only
05.07.72 Bickershaw Festival, Other One to end of show
08.21.72 Berkeley, CA, 2nd set only
08.22.72 Berkeley, CA, 2nd set only
08.25.72 Berkeley, CA, 1st 45 minutes only
08.27.72 Veneta, OR, beginning of show through most of Dark Star
03.16.73 Nassau Coliseum, 1st set through middle of Playing, beg. of Dew to end
03.21.73 Utica, NY, whole show, water damage on tapes causes some distortion
03.22.73 Utica, NY, 1st set plus very end of Other One to end
03.24.73 Philadelphia, PA, Bobby McGee to end of show
03.28.73 Springfield, MA, WRS Prelude to end of show
05.26.73 Kezar Stadium, whole show
06.22.73 Vancouver, BC, beg. of show through most of Other One
08.00.73 Wake of the Flood outtakes
06.10.76 Boston Music Hall, whole show
06.11.76 Boston Music Hall, whole show
06.14.76 Beacon Theater, whole show
06.15.76 Beacon Theater, whole show
various parts of the above four shows, intercuts
06.29.76 Chicago, Ill, whole show
02.26.77 San Bernadino, CA, whole show, DBX type I decoded
05.05.77 New Haven, Conn, whole show, DBX type I decoded
05.07.77 Boston Gardens, whole show, DBX type I decoded
05.08.77 Ithaca,NY, whole show, DBX type I decoded
05.09.77 Buffalo, NY, whole show, DBXtype I decoded
09.28.77 Seattle, Wash, middle of Jack Straw to end of show, DBX type I decoded
09.29.77 Seattle, Wash, whole show, DBX type I decoded
10.01.77 Portland, Ore, whole show, DBX type I decoded
10.02.77 Portland, Ore, whole show, DBX type I decoded
04.06.78 Tampa, Fla, Good Lovin through end of show
04.07.78 Hollywood, Fla, whole show
04.08.78 Jacksonville, Fla, whole show
04.10.78 Atlanta, GA, whole show
04.11.78 Atlanta, GA, whole show
04.12.78 Duke University, whole show
04.14.78 Virginia Tech, whole show
04.15.78 William & Mary College, whole show
04.16.78 Huntington, WVa, whole show
07.07.78 Red Rocks, whole show
07.08.78 Red Rocks, whole show
12.31.78 Winterland, Me and My Uncle through end of show
04.22.79 San Jose, CA, middle of Estimated through middle of Around & Around
09.27.80 Warfield Theater, Acoustic set
10.04.80 Warfield Theater, Acoustic set
10.06.80 Warfield Theater, Acoustic set
10.09.80 Warfield Theater, Acoustic set, and 1st 45 min of 1st set
10.10.80 Warfield Theater, Acoustic set
10.11.80 Warfield Theater, Acoustic set
10.13.80 Warfield Theater, Acoustic set

Jerry Garcia Band
10.11.75 Concord Pavillion, 2nd set
10.17.75 Keystone Berkeley, 2nd set

Hot Tuna
10.02.73 Winterland, whole show

Loggins and Messina
06.30.72 Kansas City, MO, whole show

Jefferson Starship
11.24.74 Winterland, whole show (with entire Blows Against the Empire suite)

Sons of Champlin
12.31.72 Winterland, whole show

Blues Brothers
12.31.78 Winterland, whole show


Known recording lineages of tapes available in circulation

Grateful Dead
00 00 69 Pig Pen solo project (2 songs) 5 SB>Reels>DAT
With 2.18.71, this is all that is available from these sessions
2 18 71 Capitol Theatre, Port Chester NY 158
WBOTB: 7" 2-track BBD reel w/ dolby A @ 7.5 ips > PCM501ES@ 44.055 kHz
PCM501ES analog out > dolby A decoder > Apogee filter > analog in PCMF1
PCM501ES analog out > Fostex D5 @ 48 kHz
2 19 71 Capitol Theatre, Port Chester NY 166
WBOTB: 7" 2-track BBD reel w/Dolby A @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz (dolby *not* decoded)
2 20 71 Capitol Theatre, Port Chester NY 157
WBOTB: 7" 2-track BBD reel w/ dolby A @ 7.5 ips > PCM501ES@ 44.055 kHz
PCM501ES analog out > dolby A decoder > analog in Fostex D5 @ 48 kHz
Fostex D5 > Fostex D5
2 21 71 Capitol Theatre, Port Chester NY 170
WBOTB: 7" 2-track BBD reel w/ dolby A @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > dolby A decoder > analog in PCMF1
PCM501ES analog out > Fostex D5 @ 48 kHz
2 23 71 Capitol Theatre, Port Chester NY 172
WBOTB: 7" 2-track BBD reel w/dolby A @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > dolby A decoder > analog in PCMF1
PCM501ES analog out > Fostex D5 @ 48 kHz
2 24 71 Capitol Theatre, Port Chester NY 137
WBOTB: 7" 2-track BBD reel w/ dolby A @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > dolby A decoder > analog in PCMF1
PCM501ES analog out > Fostex D5 @ 48 kHz
4 5 71 Manhattan Center, New York NY 176
WBOTB: 7" 2-track BBD reel w/ dolby A @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > dolby A decoder > analog in PCMF1 (Beta HiFi)
PCM501ES analog out > Fostex D5 @ 48 kHz
4 6 71 Manhattan Center, New York NY 157
WBOTB: 7" 2-track BBD reel w/ dolby A @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > dolby A decoder > analog in PCMF1
PCM501ES analog out > Fostex D5 @ 48 kHz
4 7 71 Boston Music Hall, Boston MA 97 (all)
WBOTB: 7" 2-track BBD reel w/ dolby A @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz (dolby *not* decoded)
4 8 71 Boston Music Hall, Boston MA 164
WBOTB: 7" 2-track BBD reel w/ dolby A @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > dolby A decoder > analog in PCMF1
PCM501ES analog out > Fostex D5 @ 48 kHz
12 14 71 Hill Auditorium, Ann Arbor MI 177
WBOTB: 7" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz

5 4 72 Olympia Theatre, Paris France 88 1
SB>7" Master Reels @ 7.5 IPS>PCM 501ES (Beta HiFi)>
PCM501ES analog out > Fostex D5 analog in 48 kHz
(with 5.26.73 set 3) (Greatest Story thru Two Souls)
5 7 72 Bickershaw Festival, Wigan, England 75 2p
WBOTB: 7" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz
...Other One > end
Togather with 4.22.79, Terrapin & 8.27.72IIIb
8 21 72 Berkeley Community Theatre, Berkeley CA 91 1p2
WBOTB: 10" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz
Set 1: ...Casey Jones, Set 2: all
Togather with 8.22.72a
8 22 72 Berkeley Community Theatre, Berkeley CA 105 2
WBOTB: 10" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz
part a with 8.21.72, part b with 8.25.72, 6.22.73 & 6.14.76
8 25 72 Berkeley Community Theatre, Berkeley CA 46 all?
WBOTB: 10" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz
Togather with 8.22.72b, 6.22.73 & 6.14.76
8 27 72 Veneta OR 203
Sets 1&2 are:
WBOTB: 7" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz
Set 3 is not from Betty board (but is a *different* source
than the one above that was treed on r.m.gdead in June '94?):
WBOTB: Vault SBD, not Betty Board, exact pedigree unknown
IIIb togather with 5.7.72, 4.22.79, Terrapin
3 16 73 Nassau Coliseum, Uniondale NY 120
WBOTB: 10" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz
Set 1 thru start of Playin', Set 2 from start of Morning Dew
thru Sugar Magnolia
3 21 73 Memorial Auditorium, Utica NY 233 all
WBOTB: 10" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz
3 22 73 Memorial Auditorium, Utica NY 127 1,2p
WBOTB: 10" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz
Set 1: all, Set 2: ...Other One > end
with 10.9.80e1
3 24 73 The Spectrum, Philadelphia PA 148
WBOTB: 10" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz
part of set 1, all of 2 - (x)HCS thru end of show
3 28 73 Civic Center, Springfield MA 67 2p
WBOTB: 10" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz
WRS thru end of show
5 26 73 Kezar Stadium, San Francisco CA (44.1) 236 SB>Reels>PCM>DAT
(I-122 min, II-114 min)
5 26 73 Kezar Stadium, San Francisco CA 249
(Set 3 is with 5.4.72)
6 22 73 PNE Coliseum, Vancouver British Columbia 223
WBOTB: 7" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz
(end of set 2 with 8.22.72b, 8.25.72 & 6.14.76)
8 xx 73 Wake Of The Flood Outtakes 69 SB>PCM>DAT
WBOTB: 7" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz
(with 4.7.71)
6 14 76 Beacon Theatre, New York, NY 45
WBOTB: 7" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz
Togather with 8.22.72b, 8.25.72 & 6.22.73
6 15 76 Beacon Theatre, New York, NY 180
WBOTB: 7" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz
6 29 76 Auditorium Theatre, Chicago IL 183
WBOTB: SB > 7" Master Betty Reels @ 7.5 IPS > PCM501ES analog
out > DBX type I decoder > analog in PCM501ES analog out >
PCM501ES analog out > Fostex D5 DAT at 48 kHz
(inludes interleave reel parts)
00 00 77 Terrapin Station 17
WBOTB: 7" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz
Clone of the master reels - side 2 of the album
Togather with 5.7.72, 4.22.79 & 8.27.72IIIb
2 26 77 Swing Auditorium, San Bernadino CA 170
WBOTB: SB>7" Master Reels @ 7.5 IPS>PCM 501ES (Beta HiFi)>
PCM501ES analog out > Fostex D5 analog in 48 kHz
5 5 77 Veteran's Coliseum, New Haven CT 176
WBOTB: SB > 7" Master Betty Reels @ 7.5 IPS > PCM501ES analog out >
DBX type I decoder > analog in PCM501ES analog out > PCM501ES
analog out > Fostex D5 DAT at 48 kHz
5 7 77 Boston Garden, Boston MA 184
WBOTB: SB > 7" Master Betty Reels @ 7.5 IPS > PCM501ES analog out >
DBX type I decoder > analog in PCM501ES analog out > PCM501ES
analog out > Fostex D5 DAT at 48 kHz
(encore with 4.10.78)
5 8 77 Barton Hall, Cornell Univ., Ithaca NY 180
WBOTB: SB > 7" Master Betty Reels @ 7.5 IPS > PCM501ES analog out >
DBX type I decoder > analog in PCM501ES analog out > PCM501ES
analog out > Fostex D5 DAT at 48 kHz
5 9 77 War Memorial, Buffalo NY 178
WBOTB: SB > 7" Master Betty Reels @ 7.5 IPS > PCM501ES analog out >
DBX type I decoder > analog in PCM501ES analog out > PCM501ES
analog out > Fostex D5 DAT at 48 kHz
4 22 79 Spartan Stadium, San Jose CA 48 2p
WBOTB: 7" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz
...He's Gone > Around & Around (Brent's first show)
Togather with 5.7.72, Terrapin & 8.27.72IIIb
10 9 80 Warfield Theatre, San Francisco CA 47 e1p
WBOTB: 7" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz
Stranger > Brown Eyed Women(x)
With 3.22.73

The original DAT WBOTB by tape #

Each tape is a 90 meter tape as follows:
Tape #1 - 2 18 71 all
xx xx 69 Pigpen solo project outtakes (2 songs)
Tape #2 - 2 19 71 all
Tape #3 - 2 20 71 all
Tape #4 - 2 21 71 all
Tape #5 - 2 23 71 all
Tape #6 - 2 24 71 all
Tape #7 - 4 5 71 all
Tape #8 - 4 6 71 all
Tape #9 - 4 7 71 all
8 xx 73 Wake of the Flood outtakes
Tape #10 - 4 8 71 all
Tape #11 - 12 14 71 all
Tape #12 - 5 7 72 2b (x)Other ... Encore: One More Sat. Night
4 22 79 2p (x)He's Gone ... Around and Around(x)
00 00 77 Terrapin Station dub of master reel
8 27 72 3b Sugar Magnolia ... One More Sat. Night
Tape #13 - 8 21 72 1b,2 1b=(x)Casey Jones, 2=all
8 22 72 2a Brown Eyed Women ... Hey Bo Diddley(x)
Tape #14 - 8 22 72 2b NFA ... NFA(x)
8 25 72 all
6 22 73 2p He's Gone ... Other One(x)
6 14 76 2b Help on the Way ... Encore: US Blues
Tape #15 - 8 27 72 1,2,3p 1,2=all 3p=Dark Star ... Sugar Magnolia(x)
Tape #16 - 3 16 73 1,2p 1=all, 2p=(x)Morning Dew ... Encore: Sugar Magnolia
Tape #17 - 3 21 73 1,2p 1=all, 2p=Greatest Story ... Me and Bobby McGee
Tape #18 - 3 21 73 2p WRS ... Encore: Casey Jones
3 28 73 2p WRS ... Encore: Johnny B. Goode
Tape #19 - 3 22 73 1,2p 1=all, 2p=(x)Other One ... Encore: One More Sat. Night
10 9 80 e1p Feel Like A Stranger ... Brown Eyed Women(x)
Tape #20 - 3 24 73 1p,2 1p=(x)HCS ... Playin', 2=all
Tape #21 - 5 26 73 1,2 1,2=all
Tape #22 - 5 26 73 3 3=all
5 4 72 1p 1p=(x)Greatest Story ... Two Souls in Communion
Tape #23 - 6 22 73 1,2p 1=all, 2p=HCS ... Big RR Blues
Tape #24 - 6 15 76 all
Tape #25 - 6 29 76 all
6 29 76 p p=interleave reel parts for reel flips
Tape #26 - 2 26 77 all
Tape #27 - 5 5 77 all
Tape #28 - 5 7 77 1,2 1,2=Bertha ... Around and Around
Tape #29 - 5 8 77 all
Tape #30 - 5 9 77 all



sorry for the long write up but i'm not allowed to post links.

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Poster: jmm2112 Date: Jul 16, 2008 1:29pm
Forum: GratefulDead Subject: Re: Another history question: TMNSP

Thank you, Tigerbolt. I knew about Betty but not about the abandonment. Seems strange that she took the time to save her work over a 14 year period and then just leaves it.

I wonder what the storage locker was auctioned for: Ten bucks? Twenty?

James (Ala.)

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Poster: Dhamma1 Date: Jul 16, 2008 3:40pm
Forum: GratefulDead Subject: Re: Another history question: TMNSP

Betty herself explained what happened in THE DEADHEAD’S TAPING COMPENDIUM, vol. 2, where she's interviewd by the editor, ca. 1995. It seems that the GD establishment failed to pay her money that she felt she was owed, and she went into a financial free-fall:


Obviously we need to discuss “the Betty tapes.”

Betty Cantor: “Betty’s Boards.” I hear about them all the time. I wonder which ones they have. I say, “Let me hear them, I’ll tell you if they’re mine”

You know, it’s widely considered that the release of those tapes was the single most important event in the history of the recording and trading of Grateful Dead tapes.

Betty Cantor: Oh, gosh. Thank you! It’s great to know I’m appreciated on some level.

Let me tell you, it wasn’t just weird for you, it was weird for the people who were involved in actually buying and first transferring them. There’s some really heavy karma attached to those tapes.

Betty Cantor: That’s a real understatement as far as my life is concerned. So much of my life is totally intertwined in those tapes. I stop short of saying “defined by them.” There were years of tapes, many bands. I’d like to get my hands on some of those.

The release of those tapes made it possible for someone like myself, who spent years trying to get a handful of decent recordings, to all of a sudden be able to collect a huge number of pristine first-generation soundboard tapes without much of a hassle. For years, there was always this very clear split between people in the community who would withhold the crisp tapes and the people who would share this wonderful music openly. It was—still is, in fact—a huge power trip.

Betty Cantor: Yes, I’m into disseminating it, every time. If you ask me, I’ll tell you whatever I can.

The people who were disseminating the Betty Boards made it possible for the hierarchy to be destroyed between the haves and the have-nots.

Betty Cantor: Right. Oh, I love it! I love it! An instance for people to change; change is a wonderful thing.

In turn, it also exponentially increased the enjoyable factor of the Grateful Dead’s music because all of a sudden a neophyte could have an incredible collection of Grateful Dead music.

Betty Cantor: That’s so wonderful, that makes me feel so good! My work wasn’t altogether in vain.

That, in turn, then made many many more people get into tapes because the tapes were actually worth collecting. They didn’t sound like so many of the echoey audience recordings made forty rows back. So all of a sudden you could really have a great collection, and that in turn made the music and the experience of collecting tapes more attractive to other people, which, in turn, in sort of an odd way, made the Grateful Dead much more popular.

Betty Cantor: All right! Gratification!

So, no matter how weird that trip was for you...

Betty Cantor: I’m glad they got out there. It went past the bullshit, which is what I ran into all over the place with the boards. And it went past it; I always wanted to get past it. And it’s out there. We’ve overcome. The demon has been driven back. I love it. I think it’s great, it’s wonderful. It’s extremely rewarding for me to hear that, that it got out there and that somebody can appreciate it. And that some asshole someplace isn’t making a bunch of money on it; at least I hope that’s the case. Anyway, if some asshole is making money on them, it should be mine! [laughs] I’m glad people are getting to hear the music.

The interesting thing is that there are more of the Betty tapes still out there, still unreleased by whoever is holding them..

Betty Cantor: Oh, yeah?

Yes, they are hidden, and there’s only one person who knows where that guy is, and that guy has been trying to sell a road case filled with two hundred tapes to the bootleggers in Italy. They won’t buy it because he wants a million dollars.

Betty Cantor: Is that all?

That’s what he wants.

Betty Cantor: I wonder which ones he has, because there were so many Garcia Band tapes, there were years of Garcia Band rapes. Some of them were just amazing.

Yes, it’s largely the Garcia Band tapes.

Betty Cantor: Yeah, I would think it would have to be because those haven’t surfaced. Like the Grateful Dead ones, a lot of my Grateful Dead tapes are in the Grateful Dead Vault. I recorded the Garcia Band in all its forms over the years. He really got into gigging when the Grateful Dead stopped playing for a couple of years. I used to take my MX1Os [Ampex stereo mike mixers—4 inJ2 out), plug them all together and feed my Revox two- track (that’s before I got my Nagra). I always used my own split signal. I recorded Merl [Saunders] and Jerry’s Live at Keystone by renting my Alembic gear (I’d split with Alembic so I rented my old setup) and having Rex as my assistant. That was one of those projects that was supposed to net the basic track for one cut on their scheduled studio album. They liked the tapes well enough to put out a double live album, and since then Mccl and Fantasy Records have issued some, I think it’s three, more CDs from those tapes. I only recorded two nights on the multitrack; they must have used almost everything.

Right. And the Betty tapes of the Europe ‘72 tour aren’t out yet, except for one or two.

Betty Cantor: I think most of my Europe ‘72 tapes are in the Vault. In Europe I was doing the sixteen-track and simultaneously running a two-track of my monitor mix. I made cassettes at the same time, and I had been feeding these a few at a time to Bear while he was unavoidably detained. I spoke to him after he had been receiving the rapes for a while; he said he was wondering who had done the mixing; he didn’t think it was Bob because he liked the mixes; “they sound like my mixes,” he said. I got a laugh out of that. Anyway, they took my Europe ‘72 sixteen-track tapes, put out Hundred Year Hall, and called themselves producers! I was like, ‘‘What?! Wait a minute!”

Do you have any idea of what percentage of the Betty tapes were masters versus copies?

Betty Cantor: Oh, they were probably all masters. Pretty much. If they were in my handwriting and they said, “Nagra, 11083 . . .“ and stuff like that, you bet they’re mine. If they’re mine, they’re masters. That’s one concern I have regarding the playing back of these tapes; that Nagra tapes be played back on a Nagra. That’s particularly true of 15 ips tapes because they were recorded with the Nagra Master equalization curve. Just love that Nagra at 15 ips NM. That’s the best. They really should be played on a Nagra. My Nagra! Yeah, right.

When I interviewed Bear for this project, he told me he was really upset because there was no real conscious effort back then to archive the tapes because there was no serious perceived value to tapes.

Betty Cantor: Well, by that time we had gotten into that, we had evolved. I would make sure that everything got labeled and kept in order and kept together

When was this approximately?

Betty Cantor: Oh, we built the Vault when we got Front Street, about 1976. We started Cats Under the Stars not long after that. We built the Vault and started keeping everything in there. Prior to that, whenever I was recording, the tapes were marked and organized.

How did these tapes end up...

Betty Cantor: A large portion of my tapes were recorded at my own expense, probably most. I purchased or built my own equipment; my Nagra, the MX1O mixers, the Allen & Heath’s mixers I used late:; mikes and monitoring, etc., including my splitters and cabling. Well, I had been trying to get most of my personal gear out of the studio and taken home, including tapes. There were many, many tapes of numerous other bands I had recorded over the years in addition to Dead music. So I’d moved a lot of these tapes home when I was told I was going to be getting a royalty payment. I was told I was collecting the money I needed to pay off my house loan. When I went into the office to pick up my payment, I was told they’d decided they didn’t owe me anything. It felt like a setup; I felt like suing. I couldn’t do that. I couldn’t sue Jerry. I don’t think he even knew what was going on with the office, and I would never lay those bummers on him; I figured everybody else’s troubles were enough for him to deal with, he didn’t need mine. Bad move on my part. So my house was taken. I was given one day to move everything out, and I couldn’t even borrow a truck to move my stuff! The crew the agent had hired packed up all my tapes and belongings and took them to some warehouse and left them there in storage. I couldn’t get paid anything so I couldn’t get them our of storage. I tried to get those guys to get them out, but nobody did anything about them, no money to get them out -— it wasn’t worth retrieving. I got these weird-ass stories: “Well, we tried to save your house “Yeah, right, why didn’t you just pay me what you owed me at the time? There would have been no problem.” It took nine years to get anything. I finally explained and demonstrated to them how at the time they refused to give me the $20,000 payment they had promised, they had owed me about $50,000 since I had never been paid for recording the Warfield, Radio City, or for the video shows, even my personal expenses in making them (things like airfare and hotels), or any record royalties on old product. So that’s where that was at. That probably has a contributing effect on the karma factor. Ya think? You gotta maintain a sense of humor.

Well, in retrospect, in a weird way, you ended up playing this incredible role in what ended up becoming a passionate hobby and joy of countless numbers of thousands of people.


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